The Sieve and the Sand the main theme of the Sieve and the Sand is ignorance. This is apparent through Mildred's attitude and actions throughout the whole section. Her refusal of books displays the book's society as a whole. Their decisions to rely on more modern forms of media rather than books are the main basis for the story. Even Montag acts a bit ignorant based on his first encounter with Faber, not taking a for an answer in despair.
Yossarian. Surely, such a name does not exist or cannot possibly even have a right to do so. What a name, even thinking of it! Really, James Heller’s Catch 22’s hero or ante-hero is something that no one else could have dreamed of but a modernist and at that, a sadist, a righteously cynical one. In fact, during the rudimentary monologues of characters like Colonel Cathcart, Captain Black and Major Major that make the novel a swashbuckler, it all involves them questioning the almost dreamlike existence of man with a name like that.
The novel ﬁnds utility in the futile attempts of K. to reach the Castle and we are never really sure what K. wants after reaching the Castle or was he even seriously a land surveyor at all. The absurdity in K.’s existence is very apparent and true, for all the substance and simultaneous action that he does, there is a void between his eﬀorts and the result that he wants to achieve. Kafka wants his character to take the existential leap of faith, to embrace his struggles with open arms and live with
Unlike the death of Mrs. De Ropp or that of Foster, Morgan’s death is unexplainable, and even scarier because he kept typing about an unknown town without being alive. And the town named “Xibeco” he was typing about is, too, a weird point contributing to his passing. Was he seeing heaven or hell? Was he observing some forthcoming events that nobody is able to see? Was he simply experiencing some alteration of his own spirit as his perception was being swept away?
During this period, freedom of feelings and creativity. This may have lead to Extreme Skepticism to occur after all the writings infused with strong feelings. Sigmund Freud's book Civilisation and its Discontents prove that his writings make him one of the founders of Modernism. The theme of “Conscience and the Super-Ego” (Gradesaver, Civilisation and its Discontents) plays out in the book as a form of Skepticism. He argues that the Super-Ego is responsible for the “discontents” that human beings experience in civilisation as “The super-ego often puts severe demands on the individual that he cannot realistically met, causing great unhappiness.” (Gradesaver, Civilisation and its Discontents).
This is repeated many times in the novel and is made very clear in the prologue by starting off with the narrator describing himself as “an invisible man (Ellison, 1952, p. 3).” The reason for this is not as a result of some biochemical accident or supernatural cause, but “simply because people refuse to see [him]” (Ellison, 1952, p. 3). Because he is black, the whites do not see him as a real person therefore he feels invisible and describes them as being blind for not being able to see past his physical appearance. Adding on to this feeling of invisibility, is the fact that the narrator does not even provide his name, he simply
Isolation of the human heart results in the inability to connect and take part in a greater existence, whereas blindness of the human eye gives way to the truth and tenderness of humanity found in the wonders of this world. In Raymond Carver’s short story, “Cathedral”, the nameless narrator seems to exhibit behavioral patterns of an addict, tending to detach himself from the plot and all relationships that he continually fails to confront throughout life. The central figure, who abhors the blind, is ignorant of his own constraints, which prevent him from recognizing the traces of transcendence in humanity that lies beyond the temptation of physical pleasure. Through the utilization of the communion model, by way of first-person narration, characterization, and extended metaphors, Carver reveals the main character’s journey of rapport, which is indicative of a human’s limited sight of truth and understanding, leading one to search outside the scope of curiosity for a more fulfilling life. One may begin to apprehend Carver’s true message throughout “Cathedral” by first considering the significant role that the first-person perspective of the main character plays in the basic plot scheme.
Albert Camus expressed the internal turmoil of an existential man. His literary body of work is mostly known for the existentialist themes within like “The Stranger” and “The Plague”. His characters are trapped into circumstances in which all efforts to come out seem useless. Man in his stories is irrelevant and this feelings lead to emotions of angst, confusion and alienation from the world. Therefore Camus puts down the thoughts of a man contemplating his existence and wondering that, “In a universe that is suddenly deprived of illusions and of light, man feels a stranger.”
The story ends with the narrator experiencing for himself the Aleph but refusing to acknowledge its existence to Daneri. There are a number of reasons for me bringing this story, which bears no obvious connection to the works of the two Palestinian writers that I will be reviewing. First, it is a way of insuring myself. Much of Borges’s story is devoted to the attempt of Daneri to hide his lack of talent behind the mask of erudition. He constantly draws parallels between his work and those of the great
Dick’s personality flaws, newfound recklessness, and complicated marriage contribute to his destruction in the novel. Dick’s personality flaws is one of the many components that lead to his destruction. His characteristics and persona create more dilemmas for him. For example, Dick closes himself off to others, and by doing this, he can’t express his emotions properly when needed. “...Dick squanders his emotional capital and becomes unable to respond to the things that are worthy of deep emotion” (Tate 218).